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COUNTRY DANCE and SONG 26 July 1996 Country Dance and Song COUNTRY DANCE AND SONG 26 July 1996 Country Dance and Song Editor: David E. E. Sloane, Ph.D. Managing Editor: Henry Farkas Associate Editor: Nancy Hanssen Assistant Editor: Ellen Cohn Editorial Board Anthony G. Barrand, Ph.D. Fred Breunig Marshall Barron Paul Brown Dillon Bustin Michael Cooney Robert Dalsemer Elizabeth Dreisbach Emily Friedman Jerome Epstein, Ph.D. Kate Van Winkle Keller Christine Helwig Louis Killen David Lindsay Margaret MacArthur Jim Morrison John Ramsay John Pearse Richard Powers Sue A. Salmons Jeff Warner Jay Ungar COUNTRY DANCE AND SONG is published annually; subscription is by membership in the Country Dance and Song Society of America, 17 New South Street, Northampton, Massachusetts, 01060. Articles relating to traditional dance, song, and music in England and America are welcome. Send three copies, typed, double-spaced to Editor. CD&S, Country Dance and Song Society, 17 New South Street, Northampton, MA 01060. Thanks to the University of New Haven for editorial support of this issue. ISSN : 0070-1262 ©COUNTRY DANCE AND SONG, July 1996, Country Dance and Song Society, Inc., Northampton, Massachusetts. Cover: Lawton Howard, Ocracoke Dancer. Country Dance and Song Volume 26 July 1996 CONTENTS Old Time Square Dancing on Ocracoke Island, North Carolina: Notes from Interviews with Ocracoke Island Dancers, September 13-15, 1992 by Bob Dalsemer . 1 "Bobbin' Around": An After-bob by Berkley L. Moore . 0 0 0 12 Ten Cents A Dance: The Taxi-Dance Hall, Jazz Dance, and the Folk Dance Movement by Allison Thompson . 13 Reviews: Hutton, The Rise and Fall of Merry England by Stephen D. Corrsin . 29 Chandler, "Ribbons, Bells, and Squeaking Fiddles" and Morris Dancing in the English South Midlands, 1660-1900 by RichardS. Holmes. 33 Chapter VII: "Country Dances" from Old Country Life by S. Baring Gould . 37 In Memory of Ted Sannella 0 0 0 0 0 0 0 0 0 0 0 49 Old Time Square Dancing on Ocracoke Island, North Carolina: Notes from Interviews with Ocracoke Island Dancers, September 13-15, 1992 by Bob Dalsemer Introduction Ocracoke Island is located 30 miles off North Carolina's mainland and is accessible only by ferry. The island is well known to summer vacationers as part of The Outer Banks. The town of Ocracoke has less than a thousand permanent residents and its K-12 public school is one of the smallest in the state. Ocracoke is more than 600 miles from my home in the mountains of western North Carolina-about the same distance from us as Washington, D.C. or Toledo, Ohio. In September 1992, I was invited by the Ocracoke, North Carolina Arts-in-the-School Program to do a three day residency aimed at researching local square dance traditions and leading some dancing based on that research in both school and community venues: a challenging assignment given the limited time! However, an important discovery of this visit was to find a long tradition of the "big circle" square dance style. Finding it on Ocracoke extends the range of this form well outside the Appalachian Mountains and suggests a variety of possibilities regarding dance origin and migration. Bob Dalsemer is president of CDSS, caller, musician and folk music and dance historian and researcher. He is currently director of the John C. Campbell Folk School in Brasstown, North Carolina. 1 It had been quite a few years since regular square dances were held on Ocracoke, but I was able to interview six longtime residents who had all been active dancers at various times from the 1920's through the 1960's. With the information I gathered from these interviews and my knowledge of traditional square and circle dances of Maryland, Virginia, West Virginia, western North Carolina and East Tennessee, I was able to present several sessions of old time square dancing to students at Ocracoke School and lead a community street dance with live music by a local band. Although I was able to spend only a few days on Ocracoke, I found some interesting information. This was one of the few traditional dance communities I have ever visited that has relied periodically on recorded music. There are probably two reasons: 1) this small, isolated island has had relatively few musicians to draw on, particularly in the off-season and 2) the principle venues for dancing were either at school or, particularly during the summer months, at local inns that had juke boxes. Since music was often recorded and recordings of square dance music were limited, most of these dancers remembered dancing mainly to two tunes: "Under The Double Eagle" and "Down Yonder" (these have also been popular square dance and clogging tunes in western North Carolina since the 1940's). When local country bands provided live music for square dances, they played mainly these tunes. The "square dance" performed on Ocracoke is actually a circle dance for any number of couples, similar to dancing associated with the southern Appalachian region. Like dances from the Appalachian region, the Ocracoke square dance has three main parts: an introduction with everyone dancing together in a big circle, a middle section in which it is customary to divide into sub-sets of two couples to dance figures of the caller's choice and then an ending section which brings all the dancers back into the big circle for some sort of grand finale. 3 Notes From the Interviews Lawton and Philip Howard Lawton Howard, then 80, was the oldest dancer I interviewed. He began dancing as a very young man in the late 1920's, left the island when he was 16 to find work and spent many years working in the Philadelphia area, returning summers to visit. He returned as a fulltime resident when he retired. His son, Philip, remembered dancing on the island in the summers beginning in the 1950's. When Lawton retired, Philip also returned to Ocracoke and runs a successful craft shop: The Village Craftsman on Howard Street, one of the most picturesque residential streets on the island. Lawton remembered the music for dances in the 1920's as being mainly fiddle and triangle ("it chimed beautiful!"). Tunes he remembered were "Comin' Round the Mountain", "Arkansas Traveler", "Under the Double Eagle", "Mississippi Sawyer", "Leather Britches", and "Bully of the Town". The dance began with "join hands and circle round." Lawton explained that this meant circle right, which I thought meant that the opening circle was to the right. However he also indicated that when the music started the dancers would spontaneously begin to circle left and when the caller gave the call "join hands and circle right" the circle would then go to the right all the way around. He described an introduction in the big circle of couples (circle, swing and promenade) followed by the caller leading off to the couple on his right and dancing a two couple figure, swinging opposites, swinging partners and moving on to the next. Each couple would then follow up as the caller reached the second couple to their right and dance all the way around the circle until all were back to place. Philip added that when the circle got big enough, a second couple across the circle from the caller would also lead out at the same time. Lawton remembered the following figures in no particular order: 4 1. "Halfway Round and Halfway Back". For two couples: circle left and right. 2. "Star". For two couples. Like the others we interviewed he remembered joining right and left hands across with someone of the opposite sex. 3. "Left and Right Through". I was not able to determine exactly what this was. Originally I thought it to be some sort of grand chain or grand right and left. Lawton and Philip could not seem to remember it clearly, but both thought that the lead couple began like a grand right and left by pulling by with the right hand and then the others would join in as they were reached by the lead couple. If this is accurate it would be a unique variation of the grand right and left in which you meet people of both sexes going around the circle and each couple ending with a swing as they meet partners the second time in original positions. My other informants were not able to clarify this. 4. "Shoo Fly". Lawton was not sure how this went, but it was for the large circle of couples at the end. 5. "Virginia Reel". Lawton mentioned this and I wasn't sure if he meant something he saw in Maryland or Pennsylvania when he lived there or if he was referring to the ending figures of the Ocracoke dance. Other characteristics of the very old time dance style that Lawton remembered included "everybody clapping rhythm at the same time" and that the dancers "shuffled their feet" which he demonstrated as a kind of subtle two-step or double step. This seems to have been very common in many early square dance styles (Texas, Maryland's Eastern Shore, and perhaps the forerunner of modem clogging in western North Carolina). Callers did not use rhyming patter much. No children were allowed at dances. Philip remembers "dive for the oyster, dig for the clam" as a two couple figure. And something called "the whip" which seemed to be like winding up the circle and unwinding it. Philip also showed me an unusual stylistic ornamentation which seemed 5 unique: in the transition from opposite swing to partner swing, the man leaves the opposite lady on his left by ending the swing facing away from the other couple, raising the opposite lady's right hand with his left, and himself ducking through the arch of their joined hands and doing half a left face tum to face the other two.
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